Journal18: a journal of eighteenth-century art and culture
  • Current Issue
  • Future Issues
  • Past Issues
    • #1 Multilayered (Spring 2016)
    • #2 Louvre Local (Fall 2016)
    • #3 Lifelike (Spring 2017)
    • #4 East-Southeast (Fall 2017)
    • #5 Coordinates (Spring 2018)
    • #6 Albums (Fall 2018)
    • #7 Animal (Spring 2019)
    • #8 Self/Portrait (Fall 2019)
    • # 9 Field Notes (Spring 2020)
    • # 10 – 1720 (Fall 2020)
    • #11 The Architectural Reference (Spring 2021)
    • #12 The ‘Long’ 18th Century? (Fall 2021)
    • #13 Race (Spring 2022)
    • #14 Silver (Fall 2022)
  • Notes & Queries
  • Information for Authors
  • Editorial Team
  • About
  • Contact

Contact

For all inquiries and proposals for submissions, please contact the editors at: [email protected].

 

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Journal18
C/O Professor Meredith Martin
Department of Art History
New York University
303 Silver Center
100 Washington Square East
New York, NY 10003
USA

NOTES & QUERIES

  • The Dawn of Everything: A Roundtable Review – by Ashley L. Cohen
  • Rococo Redux: On the Bloom of The White Lotus and the Return of the Rocaille – by Sasha Rossman
  • Vivienne Westwood’s Eighteenth Century – by Robert Wellington 
  • A Revolution on Canvas: A Review – by Yasemin Altun
  • Van Gogh: The Immersive Experience: A Review – by Kathryn Desplanque
  • The Shoemaker’s Stitch: A Review – by Katy Rosenthal
  • Scripts of Blackness: A Review – by Ellen R. Welch
  • Artist’s Notes: Nm’ultes is an Active Dialogue III: Nm’ultes Will Return into Your Wisdom – by Michelle Sylliboy
  • Dare to Know: A Review – by Oliver Wunsch
  • Madame de Pompadour and Sèvres Porcelain: A Review—by Alden R. Gordon
  • Blue Lewoz: A Review – by Jessica L. Fripp
  • Artist’s Notes: Nm’ultes is an Active Dialogue II: An Autobiographical Creative Inquiry – by Michelle Sylliboy
  • Artist’s Notes: Nm’ultes is an Active Dialogue I: Reclaiming Komqwejwi’kasikl – by Michelle Sylliboy
  • Crafting Enlightenment: A Review—by Katie Scott
  • Maurice-Quentin de La Tour: A Review — by Margot Bernstein
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